英文摘要
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Although in the field of cultural studies, thinking from elsewhere or non-Western conceptions are taken in consideration, in Western sinology, and especially in the domain of aesthetics, the main thought referred to still generally remains the one of the West. Even more seriously, this theoretical thought referred to in aesthetic sinology is nevertheless deeply rooted on representations that have been established during the Nineteenth Century and that didn't evolve much since then, by contrast with other fields of thought in the West.
This paper questions the methodological choices I personally had to deal with to ”translate” Chinese aesthetics in French, particularly in calligraphy and painting, and the way I tried to differentiate from this dominant thought in Chinese aesthetic sinology. The paper also matters with the consequences concerning its comprehension and its explanation. It is more specifically relevant to the question of two seemingly contradictions, if seen from Western aesthetics theory. One is about studying an art's theory while practicing it at the same time. The other is about talking from the practicing point of view and though to resort to other methods than the ones established by the Western theoretical tradition, although writing in French and using also Western analysis tools. All this can seem to be non scientific. This paper tries to explain how these contradictions may be solved and may help establish a research method which aim is innovative and respects the studied object.
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